As one half of Bristol’s Way Out West, Jody Wisternoff has been at the forefront of electronic music since the early 90s.

Tell me about your first time to Dubai, what did you think of it and 360?

My first time in Dubai was a few years ago to play at Trilogy. It was OK, but the crowd didn’t really seem totally into the groove, it was a more posey kind of crowd. However last year at 360 it was totally different - much more intimate and everyone there liked house music a lot. Plus it’s such an amazing location. I loved the way I could see the venue from my hotel window. Dubai is an incredible place because it is so fresh, a purpose built city in the middle of the desert, reminds me of Vegas but without the gambling and drugs.

There are a lot of budding producers and DJs in Dubai and the Middle East - what would be your advice to them?

My advice would be to take your time and learn your tools inside out, really try to master whatever program you choose to use. I would recommend Ableton but a lot of people prefer Logic. Also, I would advise people to try to use a lot of interesting samples instead of just relying on softsynths etc because this can sound so boring. Download classic music/opera/prog rock whatever, and get bits of inspiration from all sorts of styles not just dance music. There are too many copycats out there, not enough originality. There’s nothing wrong with sampling if it’s done creatively.

Tell us about the latest album ‘We Love Machine’. It’s been 6 years since ‘Don’t Look Now’ - why did it take so long to make another album?


Well we started it in 2007 and finished in 09, so two years to make an album is kind of fast for us actually. After the last album came out I had to take a little break because after a gig in Slovenia my hearing was seriously damaged, so I took six months off. I couldn’t hear properly, all my frequencies were scrambled; there was seriously loud ringing in my ears. It was like my very essence was removed, being a music man and not being able to hear music properly. It was hell, but coming out of a situation like that is a very positive thing. I’d say a lot of the inspiration for this album was derived from my recovery. Also, having our daughter was a massive inspiration. The day I found out Lucy was pregnant I produced the track ‘Surrender’. The piano melody in the track was inspired by the pregnancy.


Do you find it hard to continually make new music?


Well yeah sometimes it’s very hard; you can’t always be incredible (laughs). Sometimes I get writers block, in fact I have a little now. It’s nothing major, just a feeling that comes and goes. The best thing to do is not get upset when you don’t feel creative, just relax and give yourself a break. It’s not an exact science; it has to do with emotion. Sometimes I think a bit of pain can be very inspiring , if everything in your life is perfect then the music is going to sound flat. But too much pain isn’t good either, I don’t want to be making the blues!

Your partnership with Nick seems to have remained stable all these years, how do you manage to keep a good working relationship?

I think it’s because we give each other space. It’s not like we live in each other’s pockets, we both do our own things too. Also, the English seem to stick together. Bottom line is that we benefit from each other musically. We inspire and trust each other, so it still works.